Joanne Bristol, Graham Mockford and Saber Figure 4: catwalk, 2009, wood, pa<strong>in</strong>t, textiles, fur Joanne Bristol number <strong>of</strong> concepts (<strong>in</strong>clud<strong>in</strong>g those <strong>of</strong> “‘availability to’” and “‘<strong>in</strong>terest <strong>in</strong>”’ the other) which articulate the <strong>in</strong>ter-subjective <strong>in</strong>terplay <strong>of</strong> authority, trust and belief <strong>in</strong> the production <strong>of</strong> <strong>in</strong>terspecies knowledge. [2] Ludwig Wittgenste<strong>in</strong>, Philosophical Investigations (London: Blackwell, 1953/1985), p. 194. Wittgenste<strong>in</strong> analyses aspects <strong>of</strong> see<strong>in</strong>g and <strong>in</strong>terpret<strong>in</strong>g through referenc<strong>in</strong>g the duck / rabbit illustration <strong>in</strong> psychologist Joseph Jastrow’s Fact and Fable <strong>in</strong> Psychology (1900). [3] Bridget Riley, Blaze 1, 1962, emulsion on hardboard, 109 cm x 109 cm. [4] Donna Haraway, When Species Meet (M<strong>in</strong>neapolis: University <strong>of</strong> M<strong>in</strong>nesota Press, 2008), p. 17. [5] Elizabeth Grosz, chaos, territory, art: Deleuze and the fram<strong>in</strong>g <strong>of</strong> the earth (New York: Columbia University Press, 2008), p. 62. [6] Ibid., p. 23. [7] <strong>Animal</strong>s feature especially as tropes <strong>in</strong> telecommunications advertis<strong>in</strong>g. Pet trick videos on YouTube and the lolcats meme are examples <strong>of</strong> animal imagery that <strong>in</strong>undate social media. [8] Elizabeth Grosz, chaos, territory, art: Deleuze and the fram<strong>in</strong>g <strong>of</strong> the earth (New York: Columbia University Press, 2008), p. 14. [9] Claire Palmer, <strong>Animal</strong> Ethics <strong>in</strong> Context – A Relational Approach (New York: Columbia University Press, 2010), p. 27. [10] Dur<strong>in</strong>g the Art: What is the use? symposium at Whitechapel Gallery <strong>in</strong> January 2011, Wright proposed a shift from a “‘society <strong>of</strong> the spectator’” to a “‘society <strong>of</strong> the reader’” as a critical response to the neo-liberalisation <strong>of</strong> art production and reception. 34 [11] For example, I have witnessed amaz<strong>in</strong>g <strong>in</strong>stances <strong>of</strong> crows play<strong>in</strong>g with objects <strong>in</strong> relatively remote rural areas <strong>of</strong> Western Canada. Joanne Bristol tra<strong>in</strong>ed as an artist and has an MFA from NSCAD (Halifax, Canada). She has presented <strong>in</strong>stallations, performances and electronic media works both <strong>in</strong> Canada and <strong>in</strong>ternationally for the past fifteen years. For the past decade, she has taught <strong>in</strong>termedia, sculpture and performance art at universities and art colleges <strong>in</strong> Western Canada. Her work <strong>in</strong>vestigates relationships between nature and culture, and between the body and language. She is pursu<strong>in</strong>g a PhD at the Bartlett School <strong>of</strong> Architecture (London, UK), us<strong>in</strong>g performance and writ<strong>in</strong>g to understand <strong>in</strong>ter-species spatial relationships <strong>in</strong> urban context.
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